An early 19th century oak longcase clock, the hood with swans neck pediment above the painted dial with ship to arch and with two-train striking movement, the case with long trunk door and raised on a plinth base. Height 208 cm. CONDITION REPORT: We have both weights. When the weights are applied to the movement it does tick away without the pendulum in place and it also strikes when the hands are advanced. We do not have the pendulum for this clock but they are not difficult to get. The seconds hand is missing. The movement is a little dirty but as stated appears to be operating and striking. The hood is in generally good condition. The door to the hood is however loose and requires attention to the hinges. The clock case itself is in generally good condition with no significant issues. The pine backboard has some traces of long gone old woodworm as is more than often the case. In our opinion major restoration would not be needed. With a pendulum the clock would operate. We do not have a winding key but probably have one that would fit.
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A large Victorian mahogany bookcase, with detachable moulded cornice above three glazed doors opening to adjustable shelves, the base with three cupboard doors and all raised on a plinth. Width across cornice 205 cm, depth 54 cm, height 246 cm. CONDITION REPORT: The upper section detaches from the base. The bookcase is in generally good original condition. The cornice is in good order all around with only very minor veneer nibbles at the corners. The sides of the upper section are very clean with no splits. The doors are not warped. All upper locks are present but we have no keys. The shelves are in generally good condition. The sides of the base are in good condition also with no splits. The base doors are in generally good condition with no serious scratches, marks or damage. All locks are present but we have no keys. The left hand door has a slight warp. If we had a key and the door was locked in position this would not show. The plinth base is in good order all around. All base shelves are present.
A Victorian walnut and mahogany chiffonier, the rectangular top with moulded edge above a well figured mahogany drawer above two cupboard doors with applied moulding, all upon a plinth base. 107 cm wide, 24 cm high, 39 cm deep. CONDITION REPORT: The chiffonier is structurally sound and in generally good condition. The top has no splits and neither have the sides. The drawer front is in good order and the drawer runs smoothly. The blocks to either side of the drawer have some rubbing to the veneers. The doors beneath are not warped. The lock and key are present. The plinth base is in good order all round and the backboards are original. We can see no evidence of any woodworm.
A Victorian ebonised credenza with amboyna and inlaid decoration, having an inverted breakfront with two cupboard doors franked by inlaid columns with gilt metal mounts and mirrored glass, with bowfront display shelves, all upon a gilt metal mounted plinth base. 186.5 cm wide, 93 cm high, 42 cm deep. CONDITION REPORT: The credenza is structurally sound and in generally good condition. There are no significant areas of damage. The top is flat with no splits. There are numerous old surface marks and scratches as one would expect but no real issues. The frieze is in good condition all round with no lifting veneer. The brass moulding beneath the top is present all round. The lower brass bead is also all present but slightly loose at the rear left hand corner. The left hand door is missing a glass and would need a replacement. Both side doors are not warped and close as they should. Both locks are present. We do not have a key. The centre doors are in generally good order with no veneer losses. Both side mirrors are in good condition. The base is in generally good order with only the usual minor veneer nibbles and scratches as one would expect. The velvet lining to the shelves is in good order but clearly replaced. We do actually have a key for the side doors and the locks operate. Whilst the lock is present to the centre door we do not have a key for this.
A William IV mahogany bookcase on cupboard, the foliate scrolling pediment with relief carved and gilded cockerel above glazed doors, all upon a short cupboard base with well figured doors with applied mouldings flanked by pilasters, all upon a plinth base. 122.5 cm wide, 228 cm high, 41.5 cm deep. CONDITION REPORT: The pediment is in good condition. The sides of the top are also in good order with no splits. We have the lock and key to the upper doors. When the doors are closed there is a warp which is visible when viewed from the side. The door is flush at the key point but then becomes increasingly warped towards the top where there is a gap of +/- 0.75 cm. This is not really visible when viewed from the front, only the side. The top of the base has minor surface scratches along the front where the top has been lifted on and off. The base doors are not warped. The lock is present. The key to the upper door also locks the base. The side panels and plinth are in generally good order with only minor surface marks as one would expect. There are no shelves for the upper half but there is one in the lower section.
An Edwardian walnut low bookcase, with rear pediment above a moulded dentil cornice and four drawers with glazed cupboard doors beneath enclosing shelves and raised on a plinth. Width 184 cm. CONDITION REPORT: The shelves are adjustable and could all be removed if necessary. The internal height of the bookcase is 86.5 cm, the internal depth to the shelf fronts is 28 cm. The left-hand doors open but the lock is fixed in the lock position. The right-hand doors are locked. We have what we believe to be the key but it is reticent in turning the lock mechanism. These are simple locks and the problem should be easily remedied. The bookcase is in reasonably good condition. There are no significant issues. The doors are not warped, all brass work is original. The colour is generally good. There are some minor blemishes and marks in places but no real problems. The rear upstand is detached. The top edge moulding has an old timber break however this simply needs fixing in place as there is no loss. There are some minor scuffs to the rear upstand and a very small loss to the top left-hand corner.
An early 20th century mahogany freestanding open bookcase, with applied moulded pediment above six adjustable shelves flanked by fluted pilasters all upon a plinth base. 93 cm wide, 200 cm high, 26.5 cm deep. CONDITION REPORT: The bookcase is in extremely good order. The cornice is intact all round. The frieze is in good condition also. There are no splits to the sides of the bookcase. The pilasters are in good order as are the shelves. The backboards are in good order as is the plinth. We can see no evidence of any woodworm. The bookcase is in extremely good order. The cornice is intact all round. The frieze is in good condition also. There are no splits to the sides of the bookcase. The pilasters are in good order as are the shelves. The backboards are in good order as is the plinth. We can see no evidence of any woodworm.
A Victorian walnut bedside cabinet, with rear upstand and well figured panelled door enclosing shelves and with plinth base. Width 41 cm. CONDITION REPORT: The cabinet is in good original condition. The top is flat with no significant marks. The door is in good order and is not warped. The sides are in good condition as is the plinth. The backboard is original. There is no evidence of any woodworm.
A large walnut Queen Anne style partners desk, fitted with three frieze drawers to either side and six drawers to each pedestal with brass drop handles and crossbanded fronts flanked by canted angles and raised on a plinth base. Length 185 cm, depth 113 cm (see illustration). CONDITION REPORT: This desk is in first class condition. There are no issues of any note. The leather is in extremely good order as is the crossbanded edge. All drawers are in good condition. All locks are present and we have the keys. All brass handles are present. There are some very minor nibbles to the bottom edge of the pedestal bases but again these are minimal in our opinion of no real significance. There are no splits to any of the panels. The sharp edges to the corners of the top moulded edge have some very slight abrasions. The desk is really in as good condition as you could get.
A Victorian mahogany desk, the rectangular top with inset writing surface and two drop leaves with rounded corners and moulded edge all above a series of drawers with turned knob handles, the opposing side with false drawers and turned knop handles, all on a plinth base. Width 144 cm (leave open), 95 cm wide (leaves closed), height 73 cm, depth 55 cm.
A Border Fine Arts "Percheron Supreme Champion", limited edition number 828/950, designed by Anne Wall in dapple grey colour way and with wooden plinth in original fitted box with certificate. Height 26 cm. CONDITION REPORT: The upper most red ribbon on the tail has a small pinhead size air bubble which has burst during manufacture and can really only be viewed with a jeweller's loupe and is not visible to the naked eye. This bubble has been painted which leads us to believe that it is indeed a manufacturing flaw. Otherwise the figure is in good decorative order with no obvious chips, cracks, repairs or restorations.
A Victorian inlaid walnut low breakfront glazed bookcase case, with three drawers opening to shelves and with plinth base. Width 153 cm (see illustration). CONDITION REPORT: The cabinet is in extremely good order with no significant condition issues. The door is not warped and there are no issues with the veneers or metalwork. There are no cracks to the glass. The colour is generally very good. The pink velvet cloth lining is faded and marked in places but other than this the cabinet is almost pristine. There are some minor nibbles around the lock escutcheon. The lock is present but we do not have a key. The backboards are original. Height 86 cm. Depth 38.8 cm. Width 153 cm. The piece does not come apart.
A Victorian ebonised bow front credenza, with inlaid floral decoration throughout with gilt metal mounts, the bow front glass sides and interior enclosing shelves all upon turned bun feet. 121.5 cm wide, 114.5 cm high, 38.5 cm deep (see illustration). CONDITION REPORT: The glass door panels are not cracked. All metal mounts are present. The only metalwork that is missing are some sections of the beading around each glazed door (41 cm approximately missing to left hand door and 32 cm to the right hand door). There do not appear to be any significant losses to the marquetry. The cabinet is very dirty and requires a good clean. There are some veneer nibbles around the plinth base and scuffs and marks to the bun feet. We have a key which operates the centre and left hand doors. The right hand door lock is missing. There are some veneer nibbles around the edges of the top and various old marks to the top surface. The backboards are original.
A Victorian walnut veneered credenza, the well figured top with applied gilt metal beading in turn above a well figured and cross banded frieze and cupboard doors, each with French porcelain pastoral panels within gilt metal frames flanked by convex glazed doors, all between fluted columns with gilt metal Corinthian capitals and all above a plinth base with a gilt metal bell flower and bead mount. 200 cm wide, 107 cm high, 53 cm deep (see illustration). CONDITION REPORT: The credenza is in generally good original unrestored condition. The top whilst flat does have numerous old stress fractures to the veneers, particularly along the front edge. All of this is old and there is nothing currently lifting. The top moulded edge is in good order all round and all beading is present. The frieze beneath is in good condition all round with no veneer losses and no lifting. The panelled doors are not warped. They are of good colour with no significant veneer losses or lifting. All porcelain panels are in good order. We have the lock and a key. The lock does however not operate. The key may well not be original. The door is not locked. The side doors are both in good order and we have the original key. Both locks operate. The doors are not warped. All metalwork is present but a little tarnished. The centre shelf is missing its cloth covering as are the two lower left hand shelves. The velvet covering to the others is significantly faded and the condition is poor. The plinth base is in structurally fairly good condition all round with only minor nibbles and marks to the veneers. The right hand rear semicircular corner block is loose. We can see no evidence of any woodworm. The backboards are original and in good order.
A silver two handled trophy, from the collection of champion trophies awarded to Hexham Clarke, engraved with Cumberland Wrestlers and verso an inscription for Sunderland Association Football Club Olympic Games Challenge Cup 1899, presented by the Sunderland Licences Victuallers, assayed London 1897, with ebonised plinth and applied shield inscribed Hexham Clarke 1899, 1552.9 grams. Height including base 32.5 cm.
JOHN HUTCHISON, RSA (1833-1910) PORTRAIT BUST OF ADAM BLACK (1784-18740, THE SCOTTISH PUBLISHER AND LIBERAL POLITICIAN statuary marble, signed, dated 1866, lettered in black with the sitter's name and on the reverse PRESENTED BY J.T.G.C. TO THE PHILOSOPHICAL INSTITUTION, 72cm hSeveral small chips around the edge of the plinth, no substantial damage and none to the features, no restoration
A PRATT & SON "BRADFORD DESK, LIBRARY VERSION", c.1900, in golden oak and of panelled form with brass drop handles, the centre section with frieze drawer operating a raised tambour stationery compartment and supporting a folding leather lined fall front, two cupboard doors below, the whole flanked on either side by four graduated small drawers, on plinth and castors, 55" x 20 1/2" x 38" (Est. plus 21% premium inc. VAT)
A GOTHIC REVIVAL LIGHT OAK AND BLACK STENCILLED WARDROBE, in the manner of Marsh, Jones & Cribb, the moulded cornice over frieze with quatrefoils, four panelled doors below each with stylised flower and roundel and beaded banding, and enclosing a hanging space, slides and drawers with brass drop handles, on plinth, 88" x 23 3/4" x 88 1/4" (Est. plus 21% premium inc. VAT)
A reproduction George III style mahogany library bookcase, the upper part with a moulded cornice above adjustable shelves enclosed by three glazed doors, the projecting base enclosed by three panelled doors, on a plinth base, 160cm wide x 39cm deep x 212cm high.* Made by Gary Armstrong in Broughton Manor Workshops, Devon of Brights of Nettlebed at a cost of £6500.
A good late 19th Century haberdashery cabinet of twenty four drawers, each with a numerical label, gold on black, and a conforming contents label divided by a brass flush fitting handle, moulded plinth base and overhanging top, the drawer titles including 'Hooks and Eyes', 'Silk Reels', 'Colored Cottons', 'Thimbles/ Measures' etc., 136 x 34 x 89cm high
A 19th century carved and pierced ivory model of an early steam locomotive fitted as an ink stand, on six pierced wheels below intricate fret cut panels and funnel, the top with old Sheffield plate sander and inkwell, two wheels sd, 11.5cm wide on a velvet mounted wooden plinth below a glass dome, 16cm high
A Spanish Miquelet-Lock Mechanism (Patilla)Dated Ano 1802Of bright steel, with border engraved flat plate decorated with foliage on the tail and engraved 'Ano 1802' beneath the unidentified maker's crowned gold-lined punzón, foliate engraved bridle over the chiselled external mainspring, bridle over the steel-spring and the steel engraved en suite, the latter with further crowned gold-lined maker's punzón of Benito...(?) over 'En Cadiz', roller on the heel of the cock, foliate engraved top jaw, and jaw screw with ring finial: on a figured wooden plinth (2)12.2 cm.
A Rare South Indian Spearhead Late 16th/Early 17th CenturyOf steel, with broad curved double-edged blade of hollow diamond section, the forte on each side deeply cut with an arrow-shaped motif issuing from foliage between a pair of affronté makara, the latter chiselled in relief, on integral slightly tapering tubular socket with four prominent circular mouldings each chiselled with repeated bands of foliage between faceted silvered collars, and with a pierced circular washer at the base: mounted on an octagonal wooden plinth 52 cm. high
Barlach, Ernst1870 Wedel - 1938 RostockDer Sänger (Singender Klosterschüler). 1931 (design). Bronze, red-brown patinated. 52 x 13 x 8cm. Signed on the plinth next to the left foot: Barlach. As well as below this on the edge of the plinth foundry mark H. NOACK BERLIN. On the inside hardly legible inscription: Barlach Buller. This beautiful cast is one of 34 unnumbered copies, which were made posthumously starting 1939. Provenance: - Galerie Alex Vömel, Düsseldorf (label on the inside)- Collection Wilhelm Buller, Duisburg- Collection Hildegard Regenstreif (born Buller), Niefern- Collection Dr. Hans Werner, South GermanyExhibitions:- cf. Galerie Hoffmann, Hamburg 1948, cat.-no. 16- Galerie Alex Vömel, Düsseldorf 1951, cat.-no. 14 (presumably this work)- cf. Akademie der Künste, Berlin 1951/1952, cat. p. 124- Kunstverein für die Rheinlande und Westfalen, Düsseldorf 1955, collection Wilhelm Buller, cat.-no. 8 (this work)- cf. Villa Hügel, Essen 1958, cat.-no. 129- cf. Kunsthalle Bremen, Bremen 1959, cat.-no. 39- cf. Kunsthalle Bremen, Bremen 2001, no. 15Literature: - Laur, Elisabeth: Ernst Barlach, Das plastische Werk, Band II, Güstrow 2006, cat.rais.-no. 487- Heiderich, Ursula: Katalog der Skulpturen in der Kunsthalle Bremen, Bremen 1993, p. 110f.- Spielmann, Heinz: Stiftung und Sammlung Rolf Horn, Schleswig 1995, cat.-no. 123- Doppelstein, Jürgen/Stockhaus, Heike: Ernst Barlach, Mystiker der Moderne, Hamburg 2003, p. 261. Explanations to the CatalogueErnst Barlach Germany Modern Art Sculptures 1930s Religious Art Sculpture Bronze Religious ThemeBarlach, Ernst1870 Wedel - 1938 RostockDer Sänger (Singender Klosterschüler). 1931 (Entwurf). Bronze, rotbraun patiniert. 52 x 13 x 8cm. Signiert auf der Plinthe neben dem linken Fuß: Barlach. Sowie darunter auf der Plinthenkante Gießerstempel H. NOACK BERLIN. Auf der Innenseite schwer leserlich beschriftet: Barlach Buller. Bei diesem sehr schönen Guss handelt es sich um eines von 34 unnummerierten Exemplaren, die posthum ab 1939 entstanden sind. Provenienz: - Galerie Alex Vömel, Düsseldorf (Etikett auf der Innenseite)- Sammlung Wilhelm Buller, Duisburg- Sammlung Hildegard Regenstreif (geb. Buller), Niefern- Sammlung Dr. Hans Werner, SüddeutschlandAusstellungen:- Vgl. Galerie Hoffmann, Hamburg 1948, Kat.-Nr. 16- Galerie Alex Vömel, Düsseldorf 1951, Kat.-Nr. 14 (wohl dieses Exemplar)- Vgl. Akademie der Künste, Berlin 1951/1952, Kat. S. 124- Kunstverein für die Rheinlande und Westfalen, Düsseldorf 1955, Sammlung Wilhelm Buller, Kat.-Nr. 8 (dieses Exemplar)- Vgl. Villa Hügel, Essen 1958, Kat.-Nr. 129- Vgl. Kunsthalle Bremen, Bremen 1959, Kat.-Nr. 39- Vgl. Kunsthalle Bremen, Bremen 2001, Nr. 15Literatur: - Laur, Elisabeth: Ernst Barlach, Das plastische Werk, Band II, Güstrow 2006, WVZ.-Nr. 487- Heiderich, Ursula: Katalog der Skulpturen in der Kunsthalle Bremen, Bremen 1993, S. 110f.- Spielmann, Heinz: Stiftung und Sammlung Rolf Horn, Schleswig 1995, Kat.-Nr. 123- Doppelstein, Jürgen/Stockhaus, Heike: Ernst Barlach, Mystiker der Moderne, Hamburg 2003, S. 261In seinen vielschichtigen, stillen und zugleich vitalen Skulpturen beschäftigt sich Ernst Barlach nahezu ausschließlich mit der menschlichen Figur. Sie ist ihm Ausdrucksträger für eine symbolhaft überhöhte Darstellung existenzieller, oft leidvoller Gefühle und Zustände. Zu Beginn inspirieren ihn hierzu der Jugendstil und vor allem die Werke von Alfred Kubin und Edvard Munch. Doch während einer erlebnisvollen Reise durch Russland 1906 entdeckt er das Metaphysische und Geheimnisvolle im Alltäglichen für sich und wagt einen Neuanfang. Er löst seine Figuren aus dem gesellschaftlichen Kontext und verdichtet sie zu einem allgemeingültigen Sinnbild für das menschliche Dasein. Die geschlossene Statuarik seiner Plastiken ist der Inbegriff seines Ausdrucks nach Erdverbundenheit und Wirklichkeitsnähe, in Abgrenzung zu dem idealisierten Menschenbild in der Kunst seiner Vorgängergenerationen. In seiner künstlerischen Gestaltung gelangen Form und Inhalt zur Deckung. Das sparsame Formengut wird optimal eingesetzt und nur selten zur Unterstützung der Aussage überbetont. Wie bei dem "singenden Klosterschüler" verzichtete Barlach stets auf überflüssige Details und beschränkt sich auf elementare Formen. Mit leicht geöffnetem Mund und entspannter Haltung ruht der Singende in sich. Das große, den ganzen Körper umfassende Gewand verhindert die Störung der formalen Einheit durch ausgeprägte Details. Der symmetrische Faltenwurf seines Gewandes wird lediglich von dem Textband in seinen Händen verdeckt. Keine ausladende Geste durchbricht die in sich geschlossene Form. Erläuterungen zum KatalogErnst Barlach Deutschland Expressionismus Berliner Sezession Moderne Kunst Objekte 1930er Religiöse Darstellung Skulptur Bronze Religiöses Thema- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium
Klimsch, Fritz1870 Frankfurt a. M. - 1960 SaigStrumpfausziehendes Mädchen (Mädchen beim Ankleiden). 1903 (draft). Bronze, dark brown patinated. 49.5 x 22 x 27cm. Signed on the plinth behind the pillar: F. Klimsch. on the rear plinth edge old foundry mark: Guss v. H. Noack Berlin. We thank the foundry H. Noack, Berlin, for the friendly provision of the information that this foundry stamp at hand was used in the early 20th century. This beautiful, very early cast is thus the only other cast in existence next to the one already known, which is located in Städel Museum in Frankfurt. Provenance: - Private collection BelgiumLiterature: - cf. Braun, Hermann: Fritz Klimsch. Eine Dokumentation, VAN HAM Art Publications, Cologne 1991 (here on p. 19 mentioned under the year 1903)- cf. exhibition cat. Museum Giersch, Die Bildhauer August Gaul und Fritz Klimsch, Frankfurt a.M. 2010, p. 217 (depicted here is the piece from Städel Museum). In 1991, VAN HAM published a documentary on the artist's oeuvre, created by Hermann Braun.Explanations to the CatalogueFritz Klimsch Germany Modern Art Sculptures 1900s Nude Sculpture Bronze Figure / FiguresKlimsch, Fritz1870 Frankfurt a. M. - 1960 SaigStrumpfausziehendes Mädchen (Mädchen beim Ankleiden). 1903 (Entwurf). Bronze, dunkelbraun patiniert. 49,5 x 22 x 27cm. Signiert auf der Plinthe hinter der Säule: F. Klimsch. Auf der hinteren Plinthenkante alter Gießerstempel: Guss v. H. Noack Berlin. Wir danken der Gießerei H. Noack, Berlin, für die freundliche Auskunft, dass der vorliegende Gießerstempel in den frühen Jahren um 1900 verwendet wurde.Bei diesem schönen, sehr frühen Guss, handelt es sich somit um einen weiteren, neben dem bisher einzig bekannten Exemplar im Städel Museum Frankfurt.Provenienz: - Privatsammlung BelgienLiteratur: - Vgl. Braun, Hermann: Fritz Klimsch. Eine Dokumentation, VAN HAM Art Publications, Köln 1991 (hier auf S. 19 unter der Jahreszahl 1903 erwähnt)- Vgl. Ausst.-Kat. Museum Giersch, Die Bildhauer August Gaul und Fritz Klimsch, Frankfurt a.M. 2010, S. 217 (hier abgebildet das Exemplar des Städel Museums)Möglicherweise orientierte sich Fritz Klimsch bei der Formfindung seines strumpfausziehenden Mädchens an italienischen Vorbildern, die er 1895 während eines Italienaufenthaltes ausgiebig studieren konnte. In Motiv und körperlicher Gestaltung erinnert die Skulptur an antike Vorlagen wie den "Dornauszieher" oder die "Sandalenbinderin", die in der Renaissance und im Klassizismus vielfach rezitiert wurden. Klimschs Frühwerk steht um die Jahrhundertwende somit noch ganz im Zeichen der Tradition des 19. Jahrhunderts.VAN HAM gab 1991 eine von Hermann Braun angelegte Dokumentation zum OEuvre des Künstlers heraus. Erläuterungen zum KatalogFritz Klimsch Deutschland Berliner Sezession Moderne Kunst Objekte 1900er Akt Skulptur Bronze Figur / Figuren- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
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173487 item(s)/page